Sunday, 29 July 2012

So with just over a week to go until we host the second room at GetDarker's Outlook Festival Send-off Party at the renowned Cable, in London, we're offering the chance to win plus-one guestlist entry to the event as well as a brand new Hedmuk t-shirt in the size of your choice and some stickers to boot; two runners-up will also receive plus-one guestlist entry to the night.

The lineup speaks for itself: with Pinch, Youngsta, Author, Chef, Jakes, Swindle and Darkside all taking to the decks in the main room, we'll be holding down room 2, proudly presenting our own carefully-selected ensemble of Ruckspin, My Nu Leng, Thelem, Versa, Crises playing a very special old skool set, Karma and Preacha. For more information on the event, including how to purchase tickets, head over here.

To be in with a chance of winning simply head over to the Hedmuk Facebook Page and share this image, leaving a comment with what size of t-shirt you would like to receive should you be chosen as the winner.

The competition will close on the 1st of August, on which date a winner will be selected at random by an independent third party before being announced on the Hedmuk Facebook Page, Twitter and notified via direct message.

Friday, 27 July 2012

Reamz, after reaching the number of the beast on his Soundcloud, gives away 'Engage': a heavy, groove-driven beat that spares nothing on its atmospherics. Blockbuster strings and white noise fades add colour and are undercut at the drop by a clean, insistent sub-line, pacing the tune forward with a lunge.

Wednesday, 25 July 2012

A statement of Chestplate intent, this latest free offering from the fast-rising Coventry producer has the the steady-treading pace of Cyrus' moodier numbers, coupled with the sense of control that runs through the likes of Distance and Tunnidge's dancefloor-projected tracks; and, of course, all the finely-detailed hallmarks that people have come to expect from District's productions: original synth sounds, atmospheric sampling, and acute attention to reverb, delay and sound design.

Tuesday, 24 July 2012

Austrian newcomers DubApes drop this free download in support of their forthcoming 'We Are Monkeys' EP on Bacon Dubs, a relatively young label whose early releases saw them nominated for dubstepforum.com's Best New Label Award in January.

This debut four-track serves as a strong showcase of the production duo's talents and influences: incorporating earthy roots, intricate drum patterns and an inventive approach to melody; there is within each tune a nod not only to how, you can imagine, the pair were first introduced to the sort of rolling rhythms and basslines to be found here, but also how they have developed that taste in order to produce something indicative of just one potential future form for the sound. So whilst there may be the somewhat familiar mid-range tugs and growls, they are, each time, coupled with sounds either original or tipping their figurative hat to the history of soundsystem culture. 'Africa Calling' is perhaps the best example of this here, and arguably the strongest track on the EP as it suggests an alternative, less-urbane origin to the repetitive element of rhythms which we now associate with electronic dance music on a wider scale.

The 'We Are Monkeys' EP will be released on the 30th of July and can be pre-ordered here.

'Questions', available here as a free download, is a similar exercise in hybridity and cohesion as it blends samples from the Orient with melodic percussion, and adds a distinctly-2012 dose of mid-range to top its sub-line.

Monday, 16 July 2012

Razor Rekta is a man whose solid credentials, tight skills behind the decks and, more recently, expertly-crafted productions have gained him widespread recognition. From his roots in jungle and drum & bass, to dark garage, pirate radio, the legendary Anti Social Entertainment crew and, more recently, his addition to Distance's renowned Chestplate family, it is possible to trace a decade-long career in music that has, at its base, a finely-tuned ear for quality. Like so many producers who have taken to making beats after first honing their DJing talents, Rekta's tunes are built with the turntable in mind: rhythms, melodies and soundscapes which exist for the sake of a groove. We tracked him down to get his thoughts on all of this, and he's also contributed the latest mix in our exclusive series.

Hedmuk: To introduce yourself, what's your name, where are you from and how would you describe your sound?

Razor Rekta: Hi, my name's Razor Rekta, or Rekta as some know me; not really sure how I would describe my sound but I'd like to think I try to go for more than just elaborate soundscapes over beats and bass. The one thing I do try and focus on throughout is the groove as I feel ultimately 'dance' music should be kept as just that.

H: Would you describe yourself as being from a musical background, or is it something that you've picked up yourself? When did you start to produce and what was it that made you want to start making beats?

RR: I don't really come from a music background to be honest, haven't played the piano since the age of twelve or anything (laughs) - I think it was just a natural progression between the early stages of collecting vinyl/DJing and working in record shops, playing on radio, playing out etc. There wasn't a defining moment where I felt that I wanted to start making beats, it just happened as most of my mates were at it and the music and radio was just something we all had in common.

I started producing around the age of about 18/19 but was more of a closet producer then, if I may say so. I started taking it more seriously over the last four or five years...

H: In progressing from garage, you seem to be transferring the all-important element of space from those original tight-stepping rhythms to your own productions: is this something you're particularly conscious of, or would you consider it to be more of a natural occurrence? How strongly, would you say, do you bear out your influences, musical or otherwise, in your own tunes?

RR: I think it's something which has been more of a natural occurrence than anything, hadn't really thought of it to be honest. I think it's just your own experiences, and where you have drawn influences from in the past: I was heavily influenced by jungle/drum 'n' bass when I was growing up, so subconsciously during the garage days my taste had already been geared towards that side anyway.

By the time garage came about, my mindframe had changed loads so was drawn to stuff that was typically out of the box; at the time playing alot of Groove Chronicles, Ray Hurley etc., which technically was still garage but definitely with a rougher edge and which I feel was pushing the boundaries as far as the 2-step sound was concerned. For me, as time went by people like El-B, Oris Jay and Zed Bias were heading towards this 'new' sound, and then Search and Destroy and SLT Mob came through; it's probably their forward thinking which was standout for me, I guess, and something I still look for whether its playing live or trying to break new ground production-wise.

H: You're perhaps best known for your work within the London-based Anti Social crew; can you tell us a bit about the origins of Anti-Social and how you've worked to push and spread what is now a well-recognised sound within the dubstep spectrum?

RR: The Anti Social movement came about just as a group of mates with similar interests really, I met Silkie and Quest around 2004 but never really sat down and planned anything as such, simply just set out to make and play good music, with garage music as a commonplace. At the time we all had different ideas and our own take on where we envisaged 'the sound' to go but collectively pushed forward, putting our individualised spin on things along the way - bringing us to where we are today.

We didn't really have much of an outlet for 'dubstep' (or dark garage/FWD music as it was known), so for me there were just other things I felt were more important than producing at the time: pushing the camp and also getting this new sound out to a wider audience. Being from West London, I felt there was alot more work to be done; the foundation had already been set in Croydon, but we didn't really have that so it was just like trying to break our own genre where we lived - hence why we started our own radio station at the time, React FM.

H: Earlier this year you joined Distance's renowned Chestplate label: how did this come about, and what does it mean in terms of your involvement with Anti Social?

RR: Well I met Distance last year at Outlook and just asked if I could send over some material. I didn't actually know how people would react to it as it didn't fit any particular category: I had some minimal tracks, some eyes down stuff and some other growly numbers (that's the technical term), but I didn't set out to produce one type of sound so just took a risk by sending him loads of different things. He hit me up when we got back and we spoke about working on a release. I did have some interest from a few other labels but just felt that my music was more geared towards what he was releasing at the time. We also had similar mindframes in keeping the sound pure and it's very much a family-orientated label.

It doesn't really change anything as far as Anti Social is concerned: it's my home. But as far as my releases go, Chestplate is the only label which I feel my music is best suited to for now.

H: Some might even remember you from your days spinning garage on Delight FM a decade ago; how does it feel to look back now and see how much has changed since the days of pirate radio to now, with the likes of Rinse being granted and FM license and EDM in general asserting a new dominance almost over the music media and industry?

RR: Yeah I think a lot has changed, EDM as a whole is definitely being pushed to the forefront of the scene as more and more major labels/publishers are looking for fresh and innovative ideas in an already-saturated industry - a lot of UK acts are also being invested in which is positive also. I think generally, with the internet and independent TV organisations, there is definitely more scope for up-and-coming artists, whichever genre; and the argument of dubstep going mainstream is a balanced argument with both pros and cons.

Pirate radio has changed the game loads, I'm a bit of a purist so can't help but feel the pirate days are sorely missed. I think the web has definitely opened doors for old and new artists alike, as we can access anything at the click of a button, but nothing will beat the nostalgia of it all; and for me it was a little bit more enjoyable than, say, checking someone's Mixcloud link….it sort of takes the edge off something which was originally underground.

H: Take us through how you went about putting together the mix you've done for us.

RR: The mix features a handful of my forthcoming sounds in addition to some of producers I'm currently feeling. It's really tough when doing a mix as there's so much good music out there, but I just tried to concentrate of what went hand-in-hand with my own sound.

H: Finally, are there any forthcomings or anything in the pipeline that you'd like to put the word out on?

RR: Yes, there's the 'Bang Ya Door' EP forthcoming on Chestplate in September 2012, the Anti Social Boat Party and the Chestplate takeover at Outlook Festival 2012, a Singapore and Japan tour in July 2012, US and North America dates in April 2013 and Australia and New Zealand in 2013, with exactly dates still to be announced. I'm on Twitter at twitter.com/razorrekta, and for any bookings just hit up Danny at Elastic Artists (danny@elasticartists.net).

Thursday, 12 July 2012

New in for the summer, and in time for those of you who will be heading out to festivals in warmer and drier climes, the latest Hedmuk tee comes with a fresh design and, as always, in a very-limited number.

Tuesday, 10 July 2012

Croydon is now well known as 'the place where it all started'; whilst the likes of Plastic People and 3rd Base are acknowledged for their pivotal roles in the development of the early dubstep sound, Big Apple Records' place in the history of dubstep is now firmly established and this is largely due to the presence of a certain DJ Hatcha.

Croydub events, held at the Black Sheep Bar in Croydon, have always been about remembering the roots of the sound and each lineup is, and has been, a testament to that. For this new phase in the Croydub story, then, it seems fitting that Hatcha - whose influence on dubstep is largely unmatched - should take the helm in inviting a group of DJs and producers who have all helped shape the sound in their own individual ways, and many of whom were there when it all began.

To be in with a chance of winning two tickets to this event, simply send your answer to the following question to hedmuk@gmail.com with the subject 'Croydub Competition':

What was the very first release on the Big Apple Records label?

The competition will close on July 14th, a winner will be chosen at random by an independent third party and then notified by email and announced on the Hedmuk Facebook Page and Twitter.

For more information on the event, including how to find the venue and buy tickets, click here.

Sunday, 8 July 2012

The second vinyl release from the ever-consistent Macabre Unit imprint comes from label staple, and arguably one of the best producers to emerge from the UK in recent years, Biome working in collaboration with the man behind the M.U.D/M.U.V movement, Demon.

Lead track 'Incubus' is a beat with a split personality, almost nodding its head to its origins in the imaginations of two separate producers. Gliding in on airy atmospherics, an emotive Eastern vocal sample and a lead synth-line that would be just as at home atop a trance anthem; the groove is easy and euphoric. A little under two minutes in, however, and a gunshot crack marks the point at which the tune is stripped down to its raw elemental state: sub-bass rolls, a rising mid-range bassline and ear-splitting snare snaps.

On the flipside is 'Symmetry', and again there is that sense of a tune of two parts; yet here the distance between the elements is far narrower, and even the listener most familiar with the work of both Biome and Demon individually would have difficulty discerning each individual influence on the track. This is a collaboration in the finest sense of the word, in which each artist mirrors and then completes the other's input to create, as wordplay would have it, a unique sense of symmetry. Where vocal samples reverberate outward, there is a taut snare tugging the groove back into line; while the kick drums establish a straight, stomping rhythm, hi-hats and slapped toms drive on at their own pace. Not unlike the eight-bar grime with which Demon entered the music scene, 'Symmetry' chops and changes as it progresses; but it does so without the predictable, looping format that determined that style of grime's short life-span, instead it instils Biome's core idea of taking the listener on a journey. And it is fitting that at this point, in the moment at which the tune achieves its real sense of togetherness, that the two producers' separate influences can be picked apart from each other.

Thursday, 5 July 2012

One of Denmark's finest musical exports, RDG is a producer currently sitting on a bank of unreleased dubs which, over the last couple of years, have been picked up by labels such as All Out Dubstep, Boka and Biscuit Factory. Not content with that, he also makes up half of the production outfit ROOT and co-runs the Surfase Records imprint.

On this one, which has been let out for free to mark his thousandth follower on Facebook, RDG employs an organic, early-Cluekid style bassline and a stepping rhythm with an enigmatic flute to complete the groove.